The Difficulties Facing Feminist Theater: The Survival of
At the Foot of the Mountain

Sandra M. Bemis

Volume 1, 1987

Feminist theater has emerged as a direct result of the feminist
movement. Too often theater that is specifically feminist in its
intent is categorized as being exclusively by and for women. This
label is superficial and rooted in the stereotypical misconceptions
placed upon the feminist movement. Furthermore, feminist theater is
generally defined within the broader context of women's theater, even
though feminist performing companies are often concerned with issues
that are more political and social in nature. Women's theater also
deals with such issues, but their goal is geared more towards
entertainment rather than social change. Feminist theater historian
Meredith Flynn states: "feminist theater needs to be examined within
its own political context so that its innovations and contributions
to the development of theater may be better understood and
appreciated" (5). At the Foot of the Mountain provides an excellent
example. However, before the difficulties facing feminist theater
organizations such as At the Foot of the Mountain can be fully
examined, it is important to define more specifically what separates
feminist theater from the women's movement.

Contemporary feminist thought spans a nearly infinite range of
political and social orientations. Members are extreme right, extreme
left, wives, mothers, working class, upper-class, and even men. While
such membership offers diversity within the ranks of the movement,
such a wide strata of beliefs has made it difficult for the movement
to consolidate its goals. Perhaps feminism can best be summarized as:
"a mode of analysis, a method of approaching life and politics,
rather than a set of political conclusions about the oppression of
women' (Building Feminist Theory 35).

Shirlee Hennigan, author of The Woman Director in the
Contemporary Professional Theatre, in defining feminism for
theater artists concludes: "Rather than deciding where on the
radical-moderate continuum the definitive 'feminism' should be
located, my definition includes the entire range and makes the
decisive factor the collectiveness evoked by and due to the raised
consciousness"(61). The collectiveness to which Hennigan refers is
the emphasis that feminism places on the importance of the group
rather than on the importance of the individual. Thus, feminists are
working for the equality of all, whether they be male or female.

However, if feminism works for the equality of all individuals,
why is it so misunderstood? Part of the answer lies in the diverse
beliefs of the feminists themselves. Because the movement lacks
clearly defined goals and objectives, the intentions or actions of
feminists are easily misinterpreted. People see the feminist call for
social change as an attack on their morality and personal lifestyle.
Therefore, the mention of feminism often elicits a negative reaction.
Perhaps Hennigan has found the answer for this question:

"It would seem likely that if men were presented with
enough evidence, they would see the 'error of their ways' and
immediately cease discriminating against women. This hasn't worked
with racial discrimination or the ERA and it has been a hard
lesson, but women have learned that no matter how much evidence is
presented, logical proof is useless when the listener is operating
on an emotional level. Listeners who have different belief
systems, who see their norms and values as under attack, will not
be moved by logic" (90-91).

This is the very reason that feminist theater is so vital to the
goals of the feminist movement. It allows the audience to identify
with the dramatic action through the shock of emotional and personal
recognition. Social change can, therefore, be implemented.

In the early stages of the women's liberation movement,
consciousness raising groups provided a structure for the exploration
of sisterhood, unity, camaraderie, and shared oppression. This was
achieved through discussion which allowed people to broaden their
perceptions of the world and the way their lives were consequently
shaped by the people and events around them. Although differences in
regards to class, race, sexuality, and politics soon became evident,
the practice of applying self-awareness techniques to political
action and doctrine became widespread. As a result, feminists came to
the realization that much of what is social or personal is also
political in nature--they don't see politics as relating exclusively
to government. Every aspect of an individual's life can carry
political implications.

Feminist theater in the United States emerged in the early 1970s
through the momentum of the women's liberation movement and the
radical theater practices of the 1960s (Leavitt 1). The Radical
Theater Movement, which included such groups as the Open Theater, the
San Francisco Mime Troupe, the National Black Theater, and the Living
Theater, was motivated by the changes in perception about human
beings and their environment (Leavitt 2). The history of the movement
reflects a search for adequate methods with which to express these
changes in perception. Within the movement are two theatrical styles:
experimental theater and political theater. Experimental theater
sought to revolutionize techniques by an ensemble of artists.
Political theater was specifically political in its method and intent
(Leavitt 2). It analyzed and challenged social institutions, debated
political issues, and advocated social change. The goal was not to
entertain, but to improve the quality of life in the society (Flynn
57). Feminist theater also shares this goal and is, therefore, more
political than experimental in its intent. The feminist movement
sparked an historical analysis of female artists, the merit of their
work, and the possibility of a

specifically female point of view in regards to art. Artist Joelyn
Snyder-Ott concluded: "Western civilization's culture and arts are
'male' dominated and 'male' oriented. Women's highest artistic
achievements are off the scene, seldom heard, or if heard devalued,
and finally viewed, but not observed" (Leavitt 3).

It was important that the women's movement and radical theater
coincided. The women's movement clearly defined the causes of female
oppression and thus provided possible solutions to the problem.
Political theater, particularly the Black Theater Movement and its
methods for vividly dealing with the issue of racism, opened the way
for the public examination of difficult social issues.

Actual steps toward a completely feminist theater were taken in
1972, when a group of women playwrights (Rosalyn Drexler, Maria Irene
Fornes, Julie Bovasso, Megan Terry, Rochelle Owens, and Adrianne
Kennedy) formed the Women's Theater Council. While not professing
feminism, it sought to create a professional theater which would
develop the talents of women in all areas of the theater (Leavitt
4).

As feminist theater gains momentum, feminist drama grows in
importance and relevance to people's lives. But this development is
slow. Traditional American theater, dominated by male characters,
gives little thought to an accurate portrayal of the female
experience. Although some plays have major female roles, the fact
that they focus on women does not necessarily mean that they provide
an accurate and balanced picture of women. In Arthur Miller's drama,
Death of a Salesman, the role of Linda is pivotal. Although
this role is a major one, it does not provide a desirable role model
(Leavitt 81). Linda's unhappiness is clearly evident. However, we
perceive her unhappiness from the male point of view, not because we
are allowed into her own private world. By not examining the reasons
behind her emotional state, her condition cannot change.

Feminist artist Myrna Lamb "...sees no single correct way to
present women in drama, but she feels that reaching a final awareness
is mandatory for a protagonist in a feminist play" (Leavitt 13)
Henrik Ibsen's A Doll's House, one of the first plays to
exhibit feminist characteristics, provides a perfect example. At the
end of the play, Nora decides to leave her husband and children and
make a life of her own. She comes to the realization that the loss of
her own self-worth is not an acceptable price to pay if she is to
remain with Torvald. Nora's slamming of the door as she leaves was a
shock that was "heard around the world." To an audience in 1879, such
feminist action was almost incomprehensible and consequently the play
was banned in most countries--surprising, because Nora was the
product of a male mind. Interestingly enough, Nora's decision is
still shocking to modern audiences despite the increased awareness of
the female experience.

Modern feminist drama, written by and for women, arrives at the
universal through the personal; it is created from the author's own
personal experiences. Although characters are different and must be
considered within the context of their plays, some similarities do
exist. Many plays show women in the midst of an identity crisis. The
dramatic conflict, therefore, arises out of how a women reacts to her
situation and the way in which she ultimately solves her dilemma. The
heroine is often angry, confused, and on the brink of some new
awareness of herself and her role as a woman (Leavitt 97).

An important trend in achieving this awareness is the use of
negative female images in new, positive ways (Leavitt 17). Hysteria
and emotionalism are exposed and used in performance. The rationale
supporting such exploration is that negative images and behavior
exist for a reason. Feminists need to show why such behavior
is present in women. Stereotyped female characters in traditional
male drama are "hysterical" and "bitchy" without any apparent reason.
There is no explanation of the human motivation of the women's
inner-self. She simply behaves the way she does because she is a
"bitch." Finally, feminists believe that these "female
characteristics" may not be negative at all when presented from the
women's perspective. Just as blacks have had to escape the "nigger"
image, so have women had to shake the burden of being considered
"emotional hysterics.' (Leavitt 100).

The growth of the feminist theater movement generated a keen
interest among feminists, who saw the potential that theater offered
for presenting their message. As a result, many theater groups were
established, but only a handful have survived. Those that have faced
many of the same problems, which are very circular in nature. As with
any type of theatrical venture, adequate funding was, and still is,
difficult to obtain. Groups are often unable to pay their members on
a full-time basis, if at all. Thus it is necessary for women to hold
jobs outside of the theater. This double work load often causes
burnout. Rather than resigning from the jobs that support them
financially, women are forced to quit the theater. There is also a
lack of artistic dedication in many organizations. Women whose
primary interest is feminist politics have little patience with
either managing the business aspect of a theater group or spending
long hours rehearsing for a theatrical production. Finally, there is
an overall lack of solid theatrical experience. People have good
intentions and much enthusiasm, but without the skills to write
plays, construct scenery, costumes, and props, and to direct the
plays in production, it is difficult to maintain professional
standards (Flynn, 5-6).

In spite of these odds, the issues are important enough that some
companies have not only survived, but have made a major impact on
their community. One such company is At the Foot of the Mountain, a
Minneapolis-based organization established in 1974. At the Foot of
the Mountain is the oldest continuously producing women's theater in
the United States and has a national reputation for its artistic
excellence and experimental techniques. It is a theater that is
committed to a women-centered vision of art and society (Flynn 5). At
the Foot of the Mountain has developed many experimental techniques.
The three most important of these are the feeling circle, Ritual
Drama, and company collaboration. Each of these theatrical
conventions has its origins in feminism (Flynn 238). The feeling
circle is similar to a consciousness-raising group and is used at the
beginning of every rehearsal. The members of the company sit together
and take turns identifying their emotions at that particular moment.
The circle was developed as an acting exercise which would allow
women to become completely aware of their different emotional states
(Flynn 240). As a result of this awareness, they would then be able
to accurately recreate these emotions during rehearsal and
performance. The women of At the Foot of the Mountain believe there
are six basic emotions: joy, sorrow, love, anger, fear, and shame
(Flynn 87). By limiting the emotional states in this manner, a
performer is forced to analyze more carefully what she feels.

There is also a personal aspect to the feeling circle. Performers
are allowed to discuss any positive or negative emotions they might
have concerning the production. In addition, the circle can be used
as a clearing session for interpersonal clashes. Finally, personal
therapy can be achieved through the emotional analysis. The feeling
circle forces each individual to be completely honest with herself
and with others (Flynn 102).

There are a few disadvantages to this process of self-examination.
When first introduced to the feeling circle, most people experience
anxiety over the way they will be perceived (Flynn 87). Mutual trust
and respect must first be cultivated. As an acting exercise, the
results are not always tangible. While all of the actresses agreed
that the feeling circle was an important tool, it may take weeks for
someone to process the information from the circle into solid
character development (Flynn 87, 121). The use of Ritual Orama was
implemented when Martha Boesing, artistic director of At the Foot of
the Mountain, recognized a need to fill the spiritual void in our
society and consequently stated:

This is a time when there aren't enough ceremonies in our
lives. We've cut back in our family lives--our nuclear family
lives. Religion seems to have left a lot of people's lives. The
need for ceremony is so profound, that people really cry for an
experience where they are touched and then allowed to act on it.
Which is what Ritual Drama is about (Flynn 239).

The ritual utilized in a production not only fills this spiritual
void, but allows people to envision a different, healthier world
(Flynn 239).

There are two types of audience participation in Ritual Drama. The
first is psychological. The vulnerability of the actors creates an
atmosphere where the audience is able to drop their own defenses and
emotionally participate in the drama. The second is a literal
participation. Such methods as meditation, litanies, personal
accounts from the audience, and the breaking of bread allow the
audience to become part of the production and provides them with a
sense of community (Flynn 187, 19l). According to Boesing, the end
result of Ritual Drama is the healing of the audience. As the
spectators confront their deepest emotions and fears, they are able
to let go of them. A catharsis, a cleansing has occurred (Flynn 192).
Company collaboration is the method by which At the Foot of the
Mountain often creates theater directly from the values and
experiences of company members (Flynn 68). Such collaborative
techniques have their roots in the feminist practice of operating
without a hierarchy (Flynn 239). However, such communal handling of
power has the potential for lowering the artistic quality of a
production. At the Foot of the Mountain has found methods to
alleviate this problem.

Feminist theater groups, such as At the Foot of the Mountain, are
able to employ relatively few artists. This provides each member with
an opportunity to voice opinions. Work assignments are made through
group discussion and group decision, allowing the special talents of
each individual to be used to the group's advantage. This collective
process may be more time consuming, but it works well in a small
group comprised of a close-knit number of people who share the same
artistic goals and sense of responsibility to the group (Leavitt
79).

Perhaps the most important contribution At the Foot of
the Mountain has to offer the theater profession is its attitude.
Actors are treated with respect, their ideas are listened to and
supported; they are encouraged to always be honest with their
feelings, bringing them into rehearsal, never allowing them to
fester into an intolerable working relationship. Their wish for
the audience is to come away from their plays healthier, wholer,
saner.... Achieving these optimistic goals is not easy. Problems
do arise. But they are actively developing conventions which will
help them achieve these goals and the theater profession in
general could learn a lot from this wholistic approach to
theater(Flynn 243).

In conclusion, feminist theater is important for the simple fact
that never before has there been a theater movement led by women.
Furthermore, feminist theater is important because it presents
truthful images of women and the women's experience through a growing
body of drama which specifically focuses on women (Leavitt 99).

It is important to note that although the movement is feminist in
its intent, it does not have the support of all feminists. Shirlee
Hennigan, who interviewed several professional female directors,
found a prevalent attitude among her subjects. Even though all
considered themselves feminists, they felt that by labeling
themselves as "feminist directors," they handicapped their careers.
Hennigan quotes one of the directors as saying: "Some women become
'separatist' by working exclusively at their directing art in
feminist theater groups. This response ignores the problem of the
lack of integration of women into the mainstream directing
profession. In fact, it perpetuates the problem" (90).

I beg to differ wiih this opinion. The goal of feminist theater
groups is not to be accepted by mainstream American theater but
rather to create an alternative to it. This alternative fosters an
atmosphere of discovery and emotional growth in regards to the female
experience, thereby improving attitudes toward all women. "The
socialization process makes a male...blind to the discrimination he
perpetuates, and one cannot help to solve a problem if they are a
factor contributing to it" (Hennigan 86). Feminist theater aims to
change such socialization.

References

Building Feminist Theory: Essays from Quest. Longman, New York and
London, 1981.